Family Life in Early Modern Times 1500-1789. Edited by David I. Kertzer and Marzio Barbagli (New Haven and London: Yale University Press, 2001. viii plus 365 pp.)

2003 ◽  
Vol 37 (2) ◽  
pp. 523-525
Author(s):  
C. Fairchilds
Author(s):  
Derek Offord

G. M. Hamburg, Russia’s Path Toward Enlightenment: Faith, Politics, and Reason, 1500–1801. New Haven and London: Yale University Press, 2016, 912 p. ISBN: 9780300113136


2003 ◽  
Vol 34 (1) ◽  
pp. 295
Author(s):  
Su Fang Ng ◽  
David I. Kertzer ◽  
Marzio Barbagli

Author(s):  
Elia Nathan Bravo

The purpose of this paper is two-fold. On the one hand, it offers a general analysis of stigmas (a person has one when, in virtue of its belonging to a certain group, such as that of women, homosexuals, etc., he or she is subjugated or persecuted). On the other hand, I argue that stigmas are “invented”. More precisely, I claim that they are not descriptive of real inequalities. Rather, they are socially created, or invented in a lax sense, in so far as the real differences to which they refer are socially valued or construed as negative, and used to justify social inequalities (that is, the placing of a person in the lower positions within an economic, cultural, etc., hierarchy), or persecutions. Finally, I argue that in some cases, such as that of the witch persecution of the early modern times, we find the extreme situation in which a stigma was invented in the strict sense of the word, that is, it does not have any empirical content.


Author(s):  
Brandon Shaw

Romeo’s well-known excuse that he cannot dance because he has soles of lead is demonstrative of the autonomous volitional quality Shakespeare ascribes to body parts, his utilization of humoral somatic psychology, and the horizontally divided body according to early modern dance practice and theory. This chapter considers the autonomy of and disagreement between the body parts and the unruliness of the humors within Shakespeare’s dramas, particularly Romeo and Juliet. An understanding of the body as a house of conflicting parts can be applied to the feet of the dancing body in early modern times, as is evinced not only by literary texts, but dance manuals as well. The visuality dominating the dance floor provided opportunity for social advancement as well as ridicule, as contemporary sources document. Dance practice is compared with early modern swordplay in their shared approaches to the training and social significance of bodily proportion and rhythm.


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